Editing The Five (composers) (section)

===Stylization===
{{more citations needed section|date=January 2016}}
The musical language The Five developed set them far apart from the Conservatoire. This self-conscious Russian styling was based on two elements:

*They tried to incorporate in their music what they heard in village songs, in [[Cossack]] and [[Peoples of the Caucasus|Caucasian]] dances, in church chants and the tolling of church bells (to the point where the bell tolling became a cliché). The Five's music became filled with imitative sounds of Russian life. They also tried to reproduce the long-drawn, lyrical and [[melisma]]tic peasant song, what Glinka had once called "the soul of Russian music." Balakirev made this possible by his study of songs from the Volga in the 1860s. More than any previous anthology, his transcriptions artfully preserved the distinctive aspects of Russian folk music:
**Tonal mutability
*:A tune seems to shift naturally from one [[tonal center]] to another, often ending up in a different key than the one in which the song began. This can produce a feeling of elusiveness, a lack of definition or of logical progression in the harmony. Even when stylized by The Five, this quality can make Russian music sound very different from the tonal structures of the West.
**[[Heterophony]]
*:A melody is simultaneously rendered by two or more performers in different variations. This is improvised by the singers until the end, when the song reverts to a single melodic line.
**[[consecutive fifth|Parallel fifth]]s, fourths, and thirds
*:The effect lends Russian music a raw sonority missing entirely from the comparatively polished harmonies of Western music.
*The Five also adopted a series of harmonic devices to create a distinct "Russian" style and color different from Western music. This "exotic" styling of "Russia" was not just self-conscious but entirely invented. None of these devices were actually used in Russian folk or church music:
**[[Whole tone scale]]
*:Although Glinka did not invent this scale, his application of it in the opera ''[[Ruslan and Lyudmila (opera)|Ruslan and Lyudmila]]'' (1842) &mdash; most recognizable at the end of the festive overture &mdash; provided a characteristic harmonic and melodic device. This scale in "Russian" works often suggests evil or ominous personages or situations. It was used by all the major composers from Tchaikovsky (the appearance of the Countess's ghost in ''[[The Queen of Spades (opera)|The Queen of Spades]]'') to Rimsky-Korsakov (in all his magic-story operas—''[[Sadko (opera)|Sadko]]'', ''[[Kashchey the Deathless]]'' and ''[[The Legend of the Invisible City of Kitezh and the Maiden Fevroniya|The Invisible City of Kitezh]]''). [[Claude Debussy]] also uses this scale in his music, taking this, among many things, from the Russians. Later it became a standard device in horror-movie scores.
**The [[Russian submediant]]<ref>DeVoto, Mark. "The Russian Submediant in the Nineteenth Century," Current Musicology, no. 59 (October 1995), pp. 48&ndash;76.</ref>
*:Also linked to Glinka's ''Ruslan'', this is a harmonic pattern (in major mode) in which one upper part proceeds from the dominant pitch chromatically to the submediant while the other harmony parts remain constant. The most basic form of this pattern can be shown as follows (beginning with typical tonic): root-position tonic triad → root-position augmented tonic triad → 1st inversion submediant minor triad. A famous example of the Russian submediant occurs in the very opening bars of the third movement of Rimsky-Korsakov's ''[[Scheherazade (Rimsky-Korsakov)|Scheherezade]]''.
**[[Octatonic scale|Diminished or octatonic scale]]
*:Rimsky-Korsakov first used this in his symphonic poem ''Sadko'' in 1867. This scale became a sort of Russian calling-card &mdash; a ''[[leitmotif]]'' of magic and menace used not just by Rimsky-Korsakov but all of his followers, above all [[Alexander Scriabin]], [[Maurice Ravel]], [[Igor Stravinsky]] and [[Olivier Messiaen]] (mode 2).
**Modular rotation in sequences of thirds
*:The Five made this device of [[Franz Liszt]] their own to base a loose [[symphonic poem|symphonic-poem]] type of structure. This way, they could avoid the rigid Western laws of modulation in [[sonata form]], allowing the form of a musical composition to be shaped entirely by the "content" of the music (its programmatic statements and visual descriptions) rather than by formal laws of symmetry. This loose structure became especially important for Mussorgsky's ''[[Pictures at an Exhibition]]'', a work that may have done more than any other to define the Russian style.<ref>Figes, 180&ndash;181.</ref>
**[[Pentatonic scale]]
*:This stylistic aspect became used by every Russian nationalist composer.<ref name="figes391">Figes, 391.</ref> Its distinctive feature is to have only five notes in the octave, rather than the seven of the [[heptatonic scale]]s (e.g., [[Major scale|major]] and [[Minor scale|minor]]). The pentatonic scale is one of the ways of suggesting a "primitive" folk-melodic style as well as the "Eastern" element (Middle East, Asia). A melodic example of the "major-mode" pentatonic scale (C-D-E-G-A) can be heard at the entrance of the chorus at the beginning of Borodin's ''[[Prince Igor]]''.